String Cheese Incident Live at The Troubadour on 1998-03-07
- String Cheese Incident
01 Lonesome LA Cowboy [Keller Williams with SCI backup]
03 Mouna Bowa
04 100 Year Flood/Whiskey Before Breakfast
05 California Rain
06 The Road Home >
07 Missing Me/Bigger Isn't Better/Ramblin' Man
Set II [102:48.00]
02 Jellyfish/Jeopardy Jam/Johnny Cash
03 Wake Up/Galactic
04 Round The Wheel >
05 drums/transistion jam >
06 Land's End
07 Stir It Up/I Know You Rider
Related Music (Beta) question-dark
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
|Lonesome LA Cowboy [Keller Williams with SCI backup]|
|100 Year Flood/Whiskey Before Breakfast|
|The Road Home >|
|Missing Me/Bigger Isn't Better/Ramblin' Man|
|Jellyfish/Jeopardy Jam/Johnny Cash|
|Round The Wheel >|
|drums/transistion jam >|
|Stir It Up/I Know You Rider|
Source: Rob Boyle Matrix (SBD + AKG414 > Mackie 1402 > SBM-1 > HHb Pro1)
Clone received from Robert Boyle back in the goodle-days
transfer: Tascam DA-20 > Marantz PMD661 (digital tansfer) .wav (16/48)
post transfer: SFv9, CDwave, TLH and mp3tag were used to finish the conversion to .flac
- 2017-01-19 16:14:43
- see text file for details
- Los Angeles, CA
- Run time
- Taped by
- Rob Boyle
- Transferred by
- John L
- The Troubadour
Subject: Notes from the Show
The crew (my tight L.A. crew anyway) I was hanging with on the March '98 tour included Eric Burns, Dan Schar, Marc Olson, Whit Padgett, and maybe Colin Gibbons. I remember Shawn Fierro being around a lot. Gregg from San Diego. And a host of so many cool people at such an interesting time. This particular show was as live and jumping as it sounds. The Troubadour is truly an intimate and historic venue. The history of that place really can't be overstated. L.A. was and always will be my home town so this show is special for me in many ways. I remember some of Kang's family were in the audience this night (his parents I think), so I suspect it was special for the band too.
On that tour (which was well before I got my recording skills better honed) I was mostly running my pair of AKG C414 B-ULS mics into either Dan Schar's HHB or Whit's little Sony DAT deck. Some of my recordings from this timeframe may have been through my Sonosax SX-M2 preamp, and Dan I and I did some experimenting with mid-side recording through an AEA box, but I don't believe this show was a mid-side recording. Somewhere in a box in a closet, or in an ancient archived computer file, I have more notes (maybe). Most of my mixes on this tour (which are probably not correctly labeled "matrix", my bad) were the 414's on two channels and a stereo soundboard mix on two more channels into a Mackie 1402-VLZ and into the digital equipment. My recordings from this tour are basically 4-tracks hard-mixed on the fly and burned to 48K DAT as 2-track stereo recordings in real time. At the time, it was very expensive and time consuming to do quality post-production, so some of these recordings are really raw. Gigabyte storage and processing was not really a "thing" back then. Certainly not at the amateur mobile recording level. We spent a lot of late 90's money on (then) cutting edge equipment and it was all we could do just to get clones made and CD's cut of some of this stuff (which automatically bumped it down to 44.1k). A lot of the recordings from this era that I see posted up have been passed through a consumer level analog line or converted from a CD somebody burned from a DAT clone. The masters are 48k but the best A/D converters on most of the equipment we had access to back then were 16 bit.
Most of these recordings have issues either due to the room, the stage/room mix SBD feed I was getting from Jon O'Leary (who was running sound for the band and mostly interested in making the band sound good through the PA) or my own bad on the fly mixing (accidentally hitting a mic pad setting mid-song or something stupid like that). It's not like we were in a studio or could do more than one take. We were without a net, indeed, and subject to whatever conditions were happening at the time. And we were partying as much as recording (surprise!) and I was also doing a lot of photography at the shows. It is what is. I do have some really, really good photos from this tour also though, which someday I will probably put back on the internet.
Since these weren't true multi-track mixes but a fixed live stereo mix, most of what's on these tapes is set in stone. I generally ran the board feed high in the mix and the 414's low in the mix to add just a nice natural room reverb and crowd vibe. Sometimes it took a few songs before the mix started to get really sweet. The mics were usually as high up in the air as we could get them, sometimes together on one stand and sometimes split far apart on separate stands. The mix for mics was probably panned stereo on the Mackie but I honestly don't remember. The SBD mix was straight from the board. We were always as close as we could get to Jon's console so we could tap the board feed and get a solid room vibe on the AKG's. I don't recall messing with the EQ much on anything, we just set the levels and pads and hit record and usually only messed with it if the levels were off.
On this Troubadour tape, the crowd is noisier than other shows and the room has a hum. That's the room. It's an old club and a weird (not necessarily ideal) setup for mobile recording. It's a small space, a loud room, and we were in the balcony. It's likely a lot of the crowd noise (and the hum for that matter) was just coming off the stage mics and passed through the soundboard feed into my rig. It's hard to get the crowd level down in that room, but that's also part of the charm. Contrast to the Fillmore which is a much bigger room and you can tell the crowd is a lot easier to keep down in the mix at the Fillmore. I mean, if you listen to the Billie Eilish recording Sirius XM did on 9-18-2019 at the Troubadour you can hear how live that room/crowd is even in 2019 when presumably the equipment is better.
I'm glad some of these tapes are out there for the world. I still have all the original masters and my Fostex D5 which was used to clone the originals. Whit Padgett had a set of direct clones but recently told me his tapes were degrading beyond repair and the old hard drives are failing. I'm almost afraid to try playing mine for fear they are damaged, but time is running out on DAT tapes from the 90's. I finally got a UAD Apollo Twin with a S/PDIF input and test transferred a 90's DAT direct digital to a Mac and it worked really well (with the added bonus that the Apollo turns out to be a really versatile device.) The plan is to start running tapes direct digital through the D5->Apollo Twin->Mac rig and store on SSD and cloud. That gives me the ability to preserve the entire masters without edit. And the ability to do post-production on the Mac rather handily if I'm so inclined or have the time. Here's to hoping the tapes (and the D5) hold out long enough to get the important stuff transferred.
Anyway, I really do think the true vibe in this room on this night is easily apparent on this tape. This is what it sounded like to be there, and in some regard, for all its flaws, is as good as it gets.
"Do what you can, with what you've got, where you are." - Wes Dooley quoting (possibly) Teddy Roosevelt
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